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pe Pb EIN > VR 
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aol lable. 
SOG DANCE BOOK 


BY 
HELEN FROST, B.S. 


INSTRUCTOR IN PHYSICAL EDUCATION, TEACHERS COLLEGE 
COLUMBIA UNIVERSITY 


With Introduction By 
JESSE FEIRING WILLIAMS, M.D. 


ASSOCIATE PROFESSOR OF PHYSICAL EDUCATION, TEACHERS COLLEGE 
COLUMBIA UNIVERSITY 


New York 
A. §. BARNES AND COMPANY 
| 1921 


Copyright, 1921, by 
A. S. BARNES AND COMPANY 


The music arranged by Ruth Garland, and the clog dances within 
this volume are copyright material and are not to be taken for 
the purpose of publication without permission of the publisher. 


INTRODUCTION 


In the search for a cure of one of the worst scourges of the human race, scientific medicine has come back 
for its therapeutic procedure, to the program which has been unknown to the patient, or perhaps forgotten. 
Before this discovery of the true needs of the tubercular patient, various ‘‘scientific” treatments were proposed, 
varying all the way from a primitive type of organo-therapy which used the lungs of a fox, to the serum pre- 
pared from turtles. 

In a similar fashion, the educational and scientific world has been engaged in the problem of preservation 
and improvement of biologic fitness and vigor in man. At one time, after a false dissection of the body, 
various systems were proposed that were directed at different times at different goals. All sought, ultimately, 
to achieve a type of man and quality of development that would be strong, disciplined and healthy. 

In recent years, we in Physical Education have been coming back to fundamentals. Instead of evolving 
a system of gymnastics based on every possible movement in the body, or upon an ideal of anthropometic 
uniformity, or upon a militaristic ideal in which servility and docility of mind were the prominent goals, we 
have become interested in proposing and seeking those immemorial racial forms of activity that were not only 
the means of physical education for primitive man but indeed were important physical forces determining the 
physique and development of man himself. 

It is significant indeed, that we are seeking in these days for nature’s way, for the use and development 
of activities that are primary, fundamental and racial. 

In the working out and classification of activities that could be called natural, the author has made a 
real contribution to the science of physical education, and in this book on clogging she has made available 
for teachers a type of work which has many admirable natural features. This seems to me to be of paramount 
significance—that material is being presented which logically can be taken into the program of activities in 
physical education. 

It is important to point out that none of the values so commonly held for gymnastic systems (and so 
rarely attained), are lost in this natural type of work. Thus, for example, in clogging, the hygienic values are 
adequately preserved because, in this, not only is there real physiologic work to be done, but moreover there 
is joy in the doing of it. 

There is no suggestion that dancing in any of its forms represents a complete plan for the physical educa- 
tion of boys and girls or men and women, but there is every indication that clogging as presented by the author 
is an acceptable part of that ideal program of physical education that will afford to all an opportunity to act in 
situations that are physically wholesome, mentally stimulating and satisfying, and socially sound. 

JESSE FEIRING WILLIAMS. 

COLUMBIA UNIVERSITY, 


Teachers College, 
March 4, 1921. 


1144246 


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FOREWORD 


Although the form of the clog dances described herein is original and the analysis modern, the activity is 
primitive and their spirit universal. All peasant peoples clogged, the clog step is a forerunner of the folk 
dance, the rhythmic tap of the foot in response to the beat of music. 

It is erroneous for us to associate clogging with the American negro alone or to credit him with the origin 
of it, although he has unconsciously done much to preserve and develop this primitive form of the dance 
because he has indulged in it almost to the exclusion of other dancing. The Irish have contributed delightful 
variations of the clog step, many of which one finds developed in their folk dances, jigs and hornpipes. And 
further, in studying the history of dancing, we find in reading “The Dance” by Troy and Margaret West 
Kinney ,—‘ All the Latin countries, no less than Scotland and Ireland, have their Jig. In Italy, as elsewhere, it 
is a composition of rapid clog and shuffle steps.” 

In presenting the following clogs an endeavor should be made to introduce pantomime appropriate to the 
character and spirit of the dance. A few suggestions for interpretation are given within the descriptions. 
Disregard of this element reduces the dance to a mere practice of steps, which, in turn, robs clogging of half 
the value and joy attending it. 

Clog steps are definite to the point of being gymnastic, and demand a certain amount of accuracy; com- 
bined as they are with large body movements their practice entails strength, control and balance. Because 
such qualities are found in the clog dance boys are interested in its practice. 

There is an age, roughly outlined as ten to fourteen, when folk dancing does not appeal to the boy; he 


thinks of it as ‘‘pretty” or as ‘ 


‘girl’s dancing” and often he is allowed to omit rhythmic work altogether. 
There are strong, vigorous folk dances in which he would find pleasure and benefit. In addition, clog and 
gymnastic dances give him an opportunity for joyous expression with a sense of rhythm and a grace of carriage 
acquired as by-products. There Was An Old Man and Captain Jinks are good dances for the young boy. 
His interest will be held more definitely at this period if the girls with whom he is studying in school are not 
doing the same type of work. 

Many of the dances described in this volume are useful in festival work and have been given in various 
programs at Teachers College, Columbia University. 

To Mary Wood Hinman I am indebted for my first interest in clogging. Her splendid presentation, 
her spirit in and love for the dance make her teaching an inspiration. 

Grateful acknowledgment is due to Marjorie Hillas for criticism that has been helpful and constructive; 
to Isadore Sampson for suggestions that made Irish Jig and Rastus possible; to the students of Teachers 
College and Horace Mann School who posed for the illustrations; and to the Association Press for permission 
to reprint School Day Antics and Dance of the Hottentots from ‘Gymnastic Dancing” by William Davison. 

Miss Ruth Garland has codperated generously in the arrangement of music. 

HELEN FRost. 


4 
contents >‘ 


PAGE 
Ce A. ee 2. ee ee Ne A eT SR Rg 


gu pee mew ce AN Cie brs MEAs 222 ee Tet) ee ee in ee oe ee 2 
3. CAPTAIN JINKS . : - | ATR ett f ; Gee Aa aes am aoe fA ; : : eee Ee Sa ae Corel ee | 
4. YANKEE DOODLE : d = ‘ s : : ; : ; ; 4 : : : : ee hate 
etc Ae | AND Cg ee ne ot eee ar ee en GS Woomera, et TS 
CEST) isk en hee | SER iw oan PR ee fe we 20 
a CORUNA Pome ae UN, eee or 2 AROS Mey ss el ts RE eo ae 22 
8. ON THE RAILROAD : s : : : ; : 2 : : : : ; : sg desk re. 
NEC Eek geen toe Pee weer wee ys Mee Fas he eT 26 
PLE ISmVV ALTE CLOG Me eo Deere eh ee Gia ac Ses Ua) bee PLR det ed ee an 28 
ee EE ORCIAN. VIALE MOUAR TET Rammer ana War ath. fe AON a Um ne Pe Nag hee Maen a igi 
eee rk tc el ee ec a eS! Sel wba aes oem PR sg 
Seon) A RANT [CCR Mm ier OME SM OM Noe Woe icy iam Vig ie me Ve ta ke RE 86 


iG um Rue lire LOTTE NTO romana aise ee yh ee Re ee a hae go 8 


« THE CLOG DANCES ARRANGED IN ORDER OF DIFFICULTY 


THERE WAS AN OLD MAN .. ; ; : : ' : 3 , : : : : . 2 ; at 
ee ie ON K Me Sane eT sf eS ign Ml ee eh eh ote iy Tg 

YANKEE DOODLE s é : ; : : ; A : , : : ‘ : : : : ; STAG: 

pict An A 0 ee ee I ET 8 cr oe al Wests FS aL Oe Sy ee 0) Ser8 
ad 

Ey ora ee ec ee, is ee PU MN 1 Ol mee oe he Tg 

Peto ae pre cE ME cee et a Weck ee ee eh gy Mee cs, Poe ee eh Sw a 0b 2O 

REUBEN TAPS. : : ‘ : : sees s : Sade. bs 5 tars ee : : = LEP 


One Ere Ne POAT ee ee ee Ss eo eG let sexes le) wig ee ve) ee) a 


ee: 


One DECK. .: ee ee ea Oe GTM Ste cok oc Rey oe! Sf etiea «Sadie» Gre 8 e268 
(Maron \eiewt aamaves ee fe a a DY eR eS RAS eT eg ey. 
THE GEORGIAN MALE QUARTETTE Ce ee Me Giese het. cay R fem Mise Ve’ sg) cr Cee ot 


ASC er er Oe meet ON MERE NLP. hos) se, ww Mee ama kl eh aj et ha OS 


FUNDAMENTAL STEPS 


r=a step or change of weight. The step is usually made with the ball of the foot. If the entire foot 
takes the weight, the ball of the foot should strike. the floor first. The 1 is taken in place; avoid movement 
sideward. 

2=a brush forward with the ball of the foot and a strike back. The 2 is frequently called a “‘rattle.” 
Make two distinct and even sounds. Repeat, in practice, using the same foot. Keep the leg relaxed. In 
the second movement—the brush or strike back—the ankle is extended to make the sound short and sharp. 
At the end of the second movement the foot is just off the floor, the knee is only slightly flexed. Avoid raising 
the heel backward. 

3=2-1. The 1, change of weight, is held for a full count. 2/4 music is good for practice of plain 3’s; 
practiced in succession the 3’s alternate. The “rattle” or 2 falls on the.second and fourth counts of the 
measure, the 1 on the first and third counts. The notes preceding the 1st measure are for the first “rattle.” 
See ’Liza Jane, page 19, first measure. Practice for controlled, rhythmic 3’s with a pause between; count 
four and hold the 1 for the fourth count. Keep the feet close together that the change of weight may be done 
easily and quickly. The leg is relaxed from the hip, the body is in a good position of balance over the standing 
foot, the arms hang relaxed. 

Hop 3. After the plain 3 has been perfected, the hop 3 may be practiced. A hop left precedes a 3 with 
the right foot, a hop right precedes a 3 with the left foot. 

Heel-rattle 3=a 3 in which the heel strikes the floor between the brush forward and the strike back. It 
cannot be done unless the leg and foot are well relaxed and the leg is rotated inward as the brush forward is 
made. 

5=1-3-1. The waltz clogs are based upon the 5. The change of weight, 1, is taken on the first count of 
the measure, the 3 on “and 2 and,” the final 1 on the third count. The 5 sequence is step, brush, strike, step, 
step. (1-3-1). Count out the waltz measure “one and two and three” making a movement with each word. 
There is no hop before the 3 ina five. A 5 may also be danced in 2/4 or 4/4. time. : 

6=3-3. There is no pause on the fourth count in a 6. 

7=3-3-1. The seven is a six plus one. There is no pause between the two 3’s but the 1 is held for the 
eighth count. The-difficulty lies in getting the brush forward of the second three on the fourth count. In 
practice count eight, be careful of the brush on the fourth count and the pause on the eighth. Use 2/4 time; 
the 7 takes a measure, the first rattle falls on the last count of the preceding measure. See Dixie, page 9, 
for the time division of 3’s and 7’s. 

Hop 7. The hop 7 should not be practiced until the time division of the plain 7 is satisfactory. A hop 
precedes the first 3 only; the second 3 may be done slightly in front, the toe is turned out. 

Toe tap. A tap with the ball of the foot, after which the foot is lifted from the floor about three inches, 
the ankle flexed. Wherever a toe tap with weight is given, the foot is not lifted and the ball of the foot receives 
the body weight. 

Inverted toe tap. A toe tap with the heel turned outward. 

Fall. A step or 1 with bent knee, body relaxed. 

Slap or flop. The leg is raised, and swung downward forcibly, ankle and knee extended making an empha- 
sized step. Keep the leg relaxed as it is raised and in the downward swing let the contact with the floor seem 
to straighten the ankle and knee. 

Chug. A chug isa movement of the standing foot (the foot having the weight) keeping it in contact with 
the floor. It can be but a slight movement and is usually made on the ball of the foot, the heel falling after 
the movement has been made. 

All other steps are analyzed within the dance descriptions. In the dances all 3’s and 7’s are hop 3’s 
and hop 7’s unless the description designates a plain 3, a heel-rattle 3 or a plain 7. 


DIXIE 
i? “Dries 


(a) 3 left-3-7; 4 step hops forward,—right, left, right, left. 
3 right —3-7; 4 step hops forward,—left, right, left, right............eessseecceceeees 8 meas. 


For the step hop,—turn the toe in on the step, swing the opposite heel out to the side, knee 
fully flexed, as the hop is taken. ‘The step is short, the body is twisted that the sole 
of the opposite foot may be seen on each hop; the arms swing relaxed. 


(b) 4 plain step hops backward,—left, right, left, right, bending forward, lifting the knees 
high and swinging the arms. 
Hop right—count “‘and,” slide forward on the left heel—count “1,” draw right foot to 
PEM Mme WUISNUTIon U)=COUNL «Sager lel tigers ol, Weta hyet tee lat, GER ys Se vs oy 4 meas. 
Repeat the 4 step hops backward (begin right) and the slide (on right heel), step left; 7 right 4 meas. 


TI. “Carry ME Back.” 


(a) 3 left -3-7; 3-3-7; hop right and step left sideward (inverted toe) draw right foot to the 

left (weight right); repeat hop right, step left and draw right; 3 left —3-7 turning left 
LOU Sere ean te ME SIA ERE NM MEA GAM NOEs habs cob pgs y fiber tecealat o's tn ketone ds 8 meas. 
Freee tt Meo iiniat male tame sed Ad rare fei 's wt lysed ad cae ooo, wine O Smieela eyainin's yee Ge 8 meas, 


(b) 3 left -3; hop right, step left sideward, draw right; hop right, step left sideward, draw 


EE SACS le MtS EN a oO i La RO Rel a eI 8 or re Sen a a aS 4 meas. 

3 right —3; hop left, step right sideward, draw left; hop left, step right sideward, draw 
Fehr ome att Lear emet ee ter meee ie ol a 5, | ateoun- te peel bce ea og Glee carmanie a. dhe own eeualeler wit 4 meas. 
femewer ied Un aeatirct: POTASe—( d\n wa vat acl. <teemeias «au the «wa edo ceBeccla a oF ece eee teats Ihe 8 meas. 


For each step-draw the step is taken with an inverted toe, on the ball of the foot and as the draw 
is made the heel is swung inward. 


Step hop forward, heel swung out. Heel slide forward. 
Step I. ; Step I. 


10 DIXTE—Continued. | | (| aAtAY 
\ 


III. “‘Listen To THE MockInc Birp.” 


Double rattle right, step right, 7 left; double rattle right, step right, 7 left............ J . 4 meas. 
Double rattle right, step right and click left heel to right; step backward left, click right heel 

to left; step backward right, click left heel to right; step backward left, click right heel to 

left. Turn right about with two step hops, right and left; fall forward on the right foot.. 4 meas. 
Repeat ‘entire step, beginning-the double rattlevett. 2. came ee eee ee g meas. 


IVS Dixie 
pame.as I, beginning right.g 0:30 ac. .°: sin. eles token c) setae ee tec = cl nr 16 meas. 


Omit the last 7 of (b) and finish with another heel slide forward. 


Note.—A double rattle =two 2’s. Followed by a step as in III the sequence could be written 2 right, 3 right, 7 left. The 
double rattle in III is preceded by a slow hop. 


Arranged by Ruth Garland 


— 
—- 
; oe 
NOTE :—The numerals and words above the music outline the rhythm of the first step. 


Fold 
position + 


12 THERE WAS AN OLD MAN 


I. sleft. Brush right foot diagonally forward across left (toe in), brush right foot diagonally back- 
ward across left (toe out) and place right heel in front (toe up). 


Repeat all three times, beginning right, left; right... Sica othe sy oieets eee iene a) Steere 8 meas. 
Chorus. 
2 left —3-73 3-23-75 3-3-7; breakin we sae sales <) ereee ta ree anna; Seema nih sd 8 meas. 


Break = Hop left, step back right, draw left and step left, step forward right, left, right, hop and 
brush left forward, swinging the left knee up. 

Count the break: 
hop left—‘‘and ”’ 

Meas. 15. step back right—‘“‘1”’ 
draw left and step left —“and”’ 
step forward right—‘‘2” 
step forward left—‘‘and” 

Meas. 16. step forward right—‘‘1”’ 
hop and brush left forward—“and”’ 
swing the left knee up—‘‘2”’ 


II. 5 left. Two brushes as in I; touch right toe outside the left foot, arms swung overhead, body 


bent backward. Repeat all three times beginning right, left, right........................ 8 meas. 
Chorus... ¢ 6 6 cabins Saeed 5 2%. ae lhe a Tots aimee a erg Sere ee sh serena eee oc 8 meas. 
III. 5 left. Two brushes as in I; step right across in front; four slip steps to the left.............. 4 meas. 
Repeat all, beginning right 2. /gd ea, Peers 5% tee aoe Soe kg ene ae ene 4 meas. 


Slip step left=turn heel of right foot out and fall on left (slipping from the right to the left)— 
count ‘‘1”; step right foot to the left—count “and.” Two slip steps are made to one 
measure. Progress is made left if the slipping is with the right foot and vice versa. Arms 


are swung sideward with each slip. 


COTS. 5) OE ec ag Vin abt ate ws hes We Gos ble ie ene eee LE ecg aaa a aoe) Tr 8 meas. 
IV. 5 left. Swing right leg forward, turn left about on left toe, place right foot to the left, weight 
right. 
Four slip steps turning left,—describe a small circle and finish facing the front............... 4 meas. 
Repeatvallrbeginning right. oi ch.sn cy eG ee teas ace ee by te i et 4 meas. 
Past,Choris {oc teenie re ey gue dle Sanh ag eee SM POR MAT Cai de Ba) be 8 meas 


Notre.—For beginners or young children the chorus may consist of sixteen 3’s. 

The first step is slow and painstaking for the Old Man is a little stiff as he begins to dance in a bent position with one hand 
on hip and one on knee. There is a gradual increase of speed throughout the dance; the Old Man becomes more erect and 
elastic until the last chorus is danced as fast as the music can played. 


Preparation for the second brush Finish of the Chorus. 
Step I. 


18 
THERE WAS AN OLD MAN 


Arranged by Ruth Garland 


Hold Step Rattle Step Step Brush Brush Heel Hold 


oe x 
Oh, there was anold man andhis namewas Such, And whenhe died he did-n’t leave much; He 


-o- 


leftan old hat witha great broad brim All bound ’roundwitha wool - en string. 


Allbound’round with a _ wool-en string, All bound’round with a ~_-wool-en _ string; A 


as = 
great big hat with a great big brim, All bound 'round witha wool - en _ string. 


NoTE:—The words above the music outline the rhythm of the first step. 


14 CAPTAIN JINKS 


I. Fall forward left, step back right, step back left, 2 taps right (weight right on the second tap).. 2 meas. 


3 gallop steps sideward left, with a slight jump finish heels together.....................005. 2 meas. 
Repeat ally beginning fall forward right...) 1: 2a. meee | es ee 4 meas 
Chorus. 4 skips forward, 4 backward, 
hk "a ss s MG fa a GURMMIRORCE 3 la: i's OE | ae, 2 ce ee 8 meas 
II. Brush backward left twice (imitating horse pawing), step back left, 3 right.................. 2 meas. 
Gallop a8ein Dy) eg do) silo erage cate «> Geena Pea ch, Selatan an nk ga 2 meas 
Repéat'all, begintiing-rightz.2 ooh) ee hee eae eee ee Oe 4 meas. 
Chorus. 4 two-steps forward, 
eo 88 | pack waren ees. ls celia ores, ¢ =e Sp ani eae tee ice a rr 8 meas. 


III. Plain 3 left, hop left, step right (3—hop-1) 


(73 6c (<3 cc 6c (a9 ‘cc (a3 6c cc 


Perey te MI Otay Ae RM ea Oo Go 2 meas 
Gallop aS In Doo. secs he Agel Nic» Mobtegeet als iia ee Syst ee fee ee 2 meas. 
Repeat‘all; beginning 3 rights, & 2246 icy; ee utcerees oct ee ete ch oe 4 meas 

Chorus. 4 polka-steps forward, 
al backward... 1. «;c)xcs sa Macatee © olen Galperin Be ANON) erie cae ee 8 meas. 

IV. Brush left forward, 2 taps left (close to the right foot, weight left on the second tap). 

Plain 6 (plain 3 right.and left with no pause between) -\.2-.45- sae cee eee ee 2 meas. 

Répéat all, three times beginning right; left-right: (occa eee eee 6 meas. 
Chorus. 4 polka-steps turning left, 

2 aa , ae IS tdi) Serene ee TT rane r ie Nee tle ) aks in Wolo Oo. 8 meas. 

Exit.) Gallopiotitenn sae pies + Wael nia Ssacleve 'e,te whys Pectee ee te aed mee ce en oh eee Tasaesatist | Datase 


NotE.—Make a contrast between the step and the chorus; prance through the step, lifting the knees high, dance the chorus 
lightly and with the grace Captain Jinks attributes to the Jadies. Sing the verseeand chorus through once. 

In learning Captain Jinks boys will be doing fundamental dancing steps in each chorus,— steps which they should know yet 
which often times they dislike to practice as such. Other chorus steps can be substituted, for example, the two-step and polka 
danced in couples. 


Ready to brush backward, “pawing.” Brush forward left (foot is raised). 
Step II. Step IV 


15 


CAPTAIN JINKS 
Arranged by Ruth Garland 


Step Tap Tap Gallop 


-@- 
I'm Cap -tain Jinks of the Horse Ma-rines, I feed my horse on corn and beans, 


their’teens for that’s the style in the 


re 
I teach the la - dies how to dance, 


I teach the la - dies how to dance for that’s the style in the ar - my. 
Il 
Ga op off 


a 


NOTE:—The words above the music outline the rhythm of the first step. 


16 YANKEE DOODLE 


Couple dance, partners side by side, the girl on the right. 
I. 3 left; two taps right (weight right on the second tap); 7 left. 


Repeat three:timesy beginning right, lett, mehtters, .... ameter ac cet eat ene eee ere 8 meas. 


TI. 3 left.—3—7 "3-3-7; 13-37 Rbreak te dete eles cog coe an eo ee 8 meas. 
Break= Step obliquely forward right, step left heel across taking the weight, step right toe in 
back, step left toe in back taking the weight, step right, 5 left. 
Slap hands to thighs in the first five steps of the break. 


Count the break: 

step right—‘‘and”’ ' 
Meas. 15. left heel front—‘‘1” 

step right back—“‘and” 

left toe back—‘ 2” 

step right—“‘and”’ 
Meas. 16. 5 left. ‘(1 leit, 3 right, 1 left) 


III. (a) Face right; the girl,—hands on hips; the boy,—hands on partner’s shoulders. Plain 3 
right, two steps (left, right) lifting knees high; 3 left, two steps (right, left); 7 right. 


(b) After the seven the boy places hands under the girl’s elbows; he lifts her, turns left about 
and places:her.in front’ of thimisy cys Bpisnc 2.0 eae Hele oleae Melee Cl aie ie ae ee 4 meas. 


Repeat (a) facing left, starting the first three left. 


Omit (6) andthe boy “leap frogs: over-lus partner..02 «a0. «1 «ie Saeed ee ee 4 meas. 


IV. Repeat II. 


Finish of the seven, ready to turn. Boy pulling the girl. 
Step III (0). Step VI. 


YANKEE DOODLE | 17 


Vien back withriehtand step backright;-q left. o/rigntre. . ctu. bose sets cneaaee sca 2 meas. 


eepuenerTenstinies, Deciniingierc. Tint lett. 1) kr Grae. dee meen SL oS oP cas 6 meas. 


VI. Inside hands are joined. 3 right —3-3, hop twice on right foot, left leg raised sideward bending 


Ppoavesitewarcs reht, the girl pulling) (hero you... adhe o)triy /aieia uw eaeeies aii cate ba he oh 2 meas, 
PERMIAN TELL ADOV" DULUIS yether Smell oe MEO ERE css cia eet eee CE REC tae le 6 2 meas. 
Ree MeTICUC SIC Ulin meets sts eee mee es is ys ROME gayi ale ig a EN a GU a ucle ts fs 2 meas. 


3 left as boy turns left and places girl’s left hand on his left shoulder. She places her right 
hand on his right shoulder and they prance off the floor beginning right foot, taking six 
SECUSPLAG MELINA UH CLK TICES) HIG Lice eager aney ene APC) dere el Bear Cog mN.O ee Reemn IE eres tay b 4% 2 meas. 


Note.—Move sideward in the 3’s of the last step; the second 3 may be taken in front, feet crossed. 


Arranged by Ruth Garland 


18 IZA JANE 
Ea left —3=35 tat. a os alba sah ks oe Oe Bee ete te LIne aan eee on ne re oe 2 meas. 
The third three is made in front, feet crossed. 1-1=two changes of weight. 
The weight is changed to the right foot as the left is cut forward, weight is changed again to left 
foot as right is cut backward. 
Repeat three times) beginning right; deft; miehteia... vets. cee ee ee 6 meas. 
Nortre.—For beginners the step may be taught with no crossing of feet, and no cuts on 1-1, simply two changes of weight. 
II. Brush left foot diagonally forward right, toe in; brush left foot backward, flex the knee, heel 
out; step back left. 
3 right; step left (3-1). uk. esc nes 2 sy eee le Socks 0s cl ee Aon eres ee 2 meas. 
Repeat; brush tight)... 25. 0h ps Che: te Water ekaprendtens eae es tne i ee 2 meas. 
Repeat'all oi. sos 4s C5 h ewes pole alse he am cei ete ys bets I Ge he 4 meas. 
III. Slap left, step left in back, step right sideward, step left in front; 
eriguty 3 16lts 3 accu Sem eee ee ea ee Od Pein ai nT ae, i en A ERE 2 meas. 
Repeat, slap right, ce eee Werte tdgss 2 bats Oy gia MACE oe ech Oe ee pee ee 2 meas. 
Repeat all. ..35.5 Gece ete © « dic skls One ae watt oe ne ce ee 4 meas. 
IV. Repeat IT. 
V. “Single pigeon toe.” 3 left; turn left heel out (pivot on toe), turn left toe out (pivot on heel)— 
continue through 2 measures dragging right foot. yn, a.) ie eee 2 meas. 
B Tight =3F3 Fin cele es Alo was a ge eee MER Re, save 6s i Gee eared re ne ne 2 meas. 
Repeat 3 right and single pigeon toe right; : 
3 left aH 3-3 ies dio Be te Pcs bias Geen Be = SUES oa © Sse aes ot agree 2 ae 4 meas. 
VI. Hop right and place left heel forward, touch left toe to the side (heel out), step left in back; 
right viel th ecm eee te eee oe SIP iy ey veel eee ee ea b Sega Tear gunn 2 meas. 
Repeat, hop left and place right:heel (7) 0022 se ok. Ose Seve 2 meas. 
Repeat all ccein bap wee eee owes, ec ph wane Cedon liste ai ntole a9" okanagan 4 meas. 


Note.—A roly-poly pickaninny best describes ’Liza Jane. She is impish, mischievous and finds happiness in dancing 
some of the simple steps she has seen Rastus do. 


3 


Finish of the second brush. Turn left heel out, “single pigeon toe.” 


Step II. Step V. 


LIZA VANE 19 


VII. (a) Fall forward on left foot (lunge position), change weight to the right foot (backward lunge 


position), heels together and knees deep bend, forward roll..............0.0. 000000 2 meas 
CUI, OAS REE Ri 3 5 ee a Us 8 6 a oe a i 2 meas 

(5) Fall sideward left, change weight to right, cartwheel left.............0.ccccccuccuseuee 2 meas 
2 meas. 


2 Wee ty sie: er My Se Ses Oe Awe) bail eh Sete ais walne larry: se!) o, te) coi ows aaaleaie ust se” es fel es le Biotuia’s atte NUCL Are) 6) Te). 0: 0, 6 THES TRA PINRUUST Uist wine: idee 


airignty 3-3-2 


Notr.—(a) may be repeated in place of (b) or a cartwheel right substituted by beginning (b) with “ Fall sideward right.” 


VIII. Repeat VI, beginning right heel forward. Omit the 3’s, two high skips backward instead. 
Arranged by Ruth Garland 


I, Il, V. 
Rattle Step Rattle 


Step Rattle Step Cut Cut Rattle 


Il, IV, VI, * VII. 
Brush Brush Step & Step 


Ey Jee bu 2 
erg 8 —8—8 —s- 


Fall Back Knees Bend Roll 


NorTe:—The words above the music outline steps I, II, [Vand VII. 


‘ 


IRISH JIG 


Couple dance, partners side by side, the girl on the right. 


I. Step left, rattle right; step right, rattle left; step left, rattle right, 
Hop left,-rattle nightie... 37) <a Se te 05 we een eemraenciete » ent ire cee ata tern nn enn Se 
Repeat twice, beginning right, lefty...) 9. aguas ot eee ane eo cee 
Break—step right, rattle left; step left, rattle right; dig, dig, dig, dig, (right, left, right, left) 
II. ‘Scissors.”’ 
Touch the right toe in front of left, knees bend slightly, hop left and swing right leg forward. 
¢ turn right.and four digs 20. U0 ce Salemi cbc CH ce ca ere co ae 
Repeat with’? turn rightand foun digs Sot y. 7 ec «6: an) cena: cen een eee oe 


(73 6c EL (75 ce ce ce (73 
4 


© je 0, fe) e 18 Je eh ee! 6 6 PS) 6] @ 0) leer eRe OL 618) ete ne ‘ee # wl te) Siena’ e: elle) sip! ba iets is Lisle, ipl at 


Break—step right, rattle left; step left, rattleright; dig, dig, dig, dig,....................... 

After the touch and swing the girl turns away from the man apparently ignoring him. As she 
dances the four digs in place, he runs forward four steps, keeping the same relative position 
on her left and trying to see her face which she turns away from him. Three times she turns 
right and he follows her about, finally as they face front again and dance the break she 
smiles toward him and they join hands for the “‘side step.” 


III. ‘Side Step.” | 
(a) Heel front. Hop left on count “6,” step right heel across in front with the weight, 
count 3154 
Transfer weight to left, count “2,” 
Right heel front again with weight, count “3,” 
Transfer weight to left, count “4,” 
Swing right leg sideward and backward, hop left, counts “5-6”. .................05. 
(6) Toe back. ‘Tap right toe in back, with the weight, count “1,” 
Transfer weight to left, count “2,” 
Tap right toe in back again with weight, count “3,” 
Transfer weight to left, count “4,” 
Swing right leg sideward and forward (ready to heel across in front), hop left, counts 
POF us kdala ane ale widt some: 4a 2 4 tee Milstein ee aac acts sieht 
Repeat (a) and (6):twice advancing sideward léeitay nun. ee see ee ee 
Break—step night, rattle left; step left; rattle right; /4’digs* jj\q- on. eee ee 
Repeat entire step to right (left-heel front)” 5:77 Pest ee 


IV. Repeat first step, 


Beginning the “side step.” 


IRISH JIG | 21 


V. (a) Hop left, count “1,” (c) Cut the left forward, weight right, count “1,” 
Place right heel forward, count “2,” Place left heel forward, count “2,” 
~ Right heel takes weight, count “3,” Left heel takes weight, count ‘‘3,” 
Weight left, count “4,” Weight right, count “4,” 
Slap back right, count “5,” Slap back left, count “5,” 
Swing right leg back, count “6,” Swing left leg back, count “6,” 
(6) Hop left, count “1,” (d) Hop right, count “1,” 
Tap right toe back, count “2,” Tap left toe back, count “2,” 
Right toe takes weight, count “3,” Left toe takes weight, count “3,” 
Weight left, count ‘4,” Weight right, count “4,” 
PIOiely COUNT te See ANC. Omyers rat onan 2 meas. PlolagecoOuUntS.. Sanden G7 ea os... 2 meas. 
(e) Cut right sideward, weight left, count ‘‘ 1-2-3.” 
Cumicmaldcwalls weigterigit, COURLGIAa6=6 7. c0b es we Maman sy. ss cule ola dees wes o> I meas. 
Sree rteecOuD Ie ta ttlecgna dall rip htieee am qel ts dt Me PM, 2 an cde ci eee are ose I meas. 
Break-—otepeicnt, Tattlesient step rightarattle: lel t14  digsee Fon. Sa data eee 8 uals s 2 meas. 
VI. Step rattle, 8 backward and 4 forward. 


Step back left, rattle right; step back right, rattle left. 
Ke Ded ts (ULCER ecn mee pe mnt erm E te ie wa, MONE cs co Ie TemRL Se, Cie y alciacs iglesia alte: tre ot ale 4 meas. 
Step forward left, rattle right; step forward right, rattle left. 
Repeat ands wathoheelstopet ter on COUniapr 20. vite... coup Me cd uaa e le t's w clos er eras 2 meas. 
Finish—four digs (right, left, right, left). 

Hop left, brush right forward, hop left and place right foot forward................ 2 meas. 

Bend backward on the last count, fling the arms sideward; raise the right knee before 

the final placing. 


Note.—The step rattle=1-2. The step or 1 is made with the ball of the foot, the heel raised high. <A “dig” is such a 
step emphasized. Throughout the jig, the step falls on the first and fourth counts of the measure. 

For beginners or young children omit step V. 

In both Irish Jig and Irish Waltz the girl is a coquette, the man deeply in love, anxious to please the lady of his heart. She is 
alternately kind and cruel, he happy and despairing,—but finally,—happy, 


22 


II. 


III. 


TN: 


REUBEN TAPS 


. 2 left, tap right toe (keep heel down). 


(a9 a3 a3 73 (73 73 “ec 


2 
Plain 3 left, 1 right, 1 left (two leaps right and left, knees raised high)...................... 2 meas. 
Repeat three times) beginning right left) rigtete ere see tet he cc ee iy SP Sirae 6 meas. 
3 left, swing left heel out (pivot on toe), swing left toe out (pivot on heel). The right foot may 


remain in place, the heel swinging out, it may drag, or it may be lifted from the floor. 
Repeat three tinies, beginning right, left, right.Foe oi 3)... yee ee tie te eee ee 4 meas. 
7 left, 7 right (finish heels together). 
Swing heels out (pivot on toes); swing heels together. 
Tiletteyerient (two leapsrdsunel)< reps. cteen eee eres IE ER oo alo Sake Ook ee Ce ae ea es 


Twist and Chug. 


(a) Step left foot across right, turn body right, count “1,” 
Step right, turn body front, count “2,” 
Step left in back of right, turn body left, count “3,” 
Step right turn body front again, count “4,” 
Repeat through eight counts, progressing sideward right, raising the knees high and twisting 
shoulders:and hips. 00... 3.5. 052 aetetgen Gina eters Pe Pak eee ee he 2 meas. 


” 


(b) Face left. Flex left knee and extend forward, count ‘“‘1.” Bend left knee and hop or “chug” 
forward, on right foot, count “2.” Extend forward, count “3,” bend and chug, count ‘4”’; 
repeat, counts ‘‘5-6.”’ Fall forward on left foot facing front, count “7,” hold, count “8”... 2 meas. 


Tights 0b kA Weed Spee oka el etal Seti © Mike oot e Clk ce er 4 meas. 
In the “chug” the arms bend and extend sideward as the knee bends and extends forward. 


(a) 2 left, tap left toe in front with the weight (a three with the heel high). As the tap is taken 
the right foot is raised high in back, knee flexed. 
Heel down left; tap (or dig) right toe in back with the weight. 


(b) 27 lefties she ets ga VR GL See. die eS ee tee ee, ere co Pa rn 2 meas. 
Repeat. (a) and (6) three.times, beginning right; Jeit, right.225 0+. eae a ores eae eee 6 meas. 


Note.—Farmer Reuben is ‘‘smart,”’ a little vain; quite happy in putting his “best foot forward.” 


Finish of 2 left, ready to tap right toe. Swing heels out. 
Step I. Step IT. 


REUBEN TAPS 

Wana Repeat Cer Oh Vin spe e tesa idee ess coded mr haa ds csbealadadiasesduee geese ec ber 2 meas 

(b) Hop right, clicking left heel to right in the air. 

“cc (73 ce ce 73 ““ CLA EL: (79 cc 
[UL OARS, Sa eth ek aoe RI Ds eR nc 9 I a on Ca en re aoe 2 meas 
Repeaota)y and (0) begmminp rights. 20a cee <0 < soem ee ee stale ne +s Mew was aieeses 4 meas 
7 left, 7 right, swing heels out, swing heels together, leap left, and right (asin IT).......+.++5+. 4 meas 
Atranged by Ruth Garland 


NOTE :—Play twice through; repeat last eight measures. 


24 ON “THE RAILROAD 
I. Face left, 2 left, chug right; repeat three times, slight advance is made forward................ 2 meas. 
2 left; step back left, face front and step sideward right, step left; 3 right, 3 left............... 2 meas. 
Repeat all ‘facing right; finish facing forward |e)... eee a eee See 4 meas. 
II. “Handcar.” 
2 left, chug right, flop left, 
2 right, chug left, flopiright....\8 oo we. sca es memes | oe 2 Me Orato an en 2 meas. 
Right foot is forward, weight evenly distributed. Bend and raise the trunk twice, imitating 
working a handcar, the arms are forward, finish with the weight back..................... 2 meas. 
2 right, chug left, flop right, 
adettachug right; flop left pe S5 ec. Wie whee lcta tt oe kage te eRe tie ccna ee 2 meas. 
“Handear’’ twice, finish with the welghtiback ot 57. , sseneieii es on te eka 2 meas. 
Ill. Face left. 2 left, chug right; repeat; flop left; plain 3 right. 2 left, chug right; repeat; 2 left, 
step back left, face front and step sideward right, face right and step left in front............ 4 meas. 
Face;right.'. Repeat all, beginning right. ee, eco ee eee 4 meas. 
TV. Repeats. 2. bs lek oes seca esque ete et the CW a folghecs SMeMete erst ae oa ce a 8 meas. 
V. 2 left, chug right; plain 3 left, : 
2 tight, chug left;~plain 2:right «2%. 2m ee scaete > sree Cee eg techn) ce ee 2 meas. 
Plain 3 left, hop left and step right backward, step left foot to the right, 3 right, 1 left.......... 2 meas. 
2 right, chug left; plain 3 right, ‘ 
2 left, chug-right; plain=3 leitise. Gh datos eee to een en. Rm eter nee 2 meas. 
Plain 3 right, hop right and step left backward, step right foot to the left, 3 left, rright.......... 2 meas. 
Repeat alle. crisis s cue hie ett cicie ok tee Serene Rae er ge oo see SCE ae tee ee 8 meas. 
VI. 4 Railroad Shuffles to the right, finish with the weight on the left foot......................... 2 meas. 


Face right, 3 step hops forward,—tright, left, right; face forward and step left. The knees are 
raised high in a circling motion and the arms are alternately thrust forward in imitation of the 


enginé wheels and (piston. 0). iste ite cteks WmeiMl spage oaeay ee ee nee oe eaten eee eet eee 2 meas. 
4 Railroad Shuffles to the left, finish with the weight on the right foot..................00000- 2 meas. 
Face left, 3 step hops forward,—left, right, left; face forward and step right................... 2 meas. 


THE RAILROAD SHUFFLE. 


Preparation or Pull, count, “and.” Push, count “1.” 
Shift and Swing, count “2.” 


ON THE RAILROAD 25 


VII. Repeat first four measures of II. Railroad Shuffles to the left through the phrase............. 4 meas. 
Note.—The only hop 3’s are those of the first step. In II and III each flop may be preceded by a brush forward. 
A “chug” is a movement of the standing foot (the foot having the weight) keeping it in contact with the 
floor. Throughout this dance the “chug” is a slight forward movement, accompanied by a bending of the knee 
and relaxation of the entire leg. The fall of the heel gives the sound of a chug. 


The Railroad Shuffle. (Right—advance is made right.) 

Stand with weight on right foot, left toe raised and swung outward, heel on the floor. For practice start 
with the feet about 10 inches apart. 

“Pull.” Change to left toe down, heel up, and draw back toward right heel,—count “and.” 

“Push.” Slide the left foot parallel to the right foot, weight left, bend the knees, count “1.” 

“Shift and Swing.”’ Slide the right foot slightly forward and to the right, weight right, knees straight 
and at the same time swing the left toe out, keeping the heel down ready for the pull, count “2.” 

The “push” has the accent and gives the sound and movement of the piston, the “shift” suggests the 
steam. The movements once understood and made rhythmic can be done very rapidly. 


Arranged by Ruth Garland 
Gi 


— 


Rattle Chug Rattle Chug Brush Flop 2 1 attle Chug Rattle Chug Rattle Step Step Step 
vow 


I've been working onthe rail - road Aik the live Jong ~ day: 


| 
igi era nia Ea =? — #99 
——— ee gee 
: i #--__—@ ae ay 
oe Bae [ vad 
| die [ge 
Cres a sores ee ao ee eS ee 
<p ba Caco ees bia 5 TT ie MTS 
-o- - -o- —- —- 
-@- -o- -@- we 
I’ve been work-ingon the rail - oad Just to pass the’ time» 4a) = Swayse. .)). 


Don’t you’ hearthe whistle blow - in’, carly. ain the morn; .!< 


Don’t you hearthe bu-gle = call - ints “Di - nah blow your horn.’’ 


NoTE:—The words above the music outline the third step. 


26 ON DECK 


I. 3 left, hop left and step right diagonally forward left; 3 left, hop left and step right sideward.... 2 meas. 
3 left —3-3, going backward; 1-=1, falling forward7.o). 260 so aeieet re | sp ee 2 meas. 
Repeat all twice, ‘beginning right and lett. Si aka sists eee ogee eee ee a 8 meas. 
Break—3 right, hop right and step left forward, hop left and step right forward, 3 left; step back 

on right toe, count “5-6,”—heel down, count “1-2”—step left toe, count “3,”—heel down, 
count ‘‘4~5,’—step right toe, count “6” heel down, count “‘1-2,’’—bring left foot to the 


right, sway back on heels, count “‘3”—sway forward on toes, count “4”..................- 4 meas. 
II. 2 left, count “5-6,”—slip forward on left toe heel out and down at end of the slip, count “1-2-3,” 
—place right foot to the left, toes touching and heels out, count “4-5-6”. ................ I meas. 
Lift: toes, pivot on heels, tapdeittoe, tap night toc i. + see eee pee I meas. 
3 lefti=3—3, going backward;=1, falling forward .asan step deere.) peer ee eee 2 meas. 
Repeat-all twice, beginning wight.and left eee sneer cs ee ee 8 meas. 
Break dsee step 1). 2s 22 ogee y es iad ap Res ce pits Hod ee etic =, a a es re 4 meas. 
III. “Scissors Forward.” Slip with the left foot forward, bent knee, right leg back, count ‘‘ 1-2-3’; 
pull feet together, legs straight andi body erect, counts = 4=550°122 1p. tye ee I meas. 
Hold position, count ‘‘1-2,’’—pivot on toes, heels out, count “3,”’—pivot on heels, place toes out, 
count “4-5-6? 12s 58 So mace ales Se eee 2 Oe ge os ee eee eae ee I meas. 


Jump with feet together, knees bent, count ‘‘1-2-3,’’—jump on heels, feet apart, knees straight, 
count “‘4~-5,”—toes together, count “‘6,”—heels together, count ‘‘1,’’ hold count ‘‘ 2-3-4-5-6”._ 2 meas. 
Repeat all,‘slip. with right leg. forward.th. of vos a. cere ene eae 2 ee 4 meas. 


IV. “Scissors Sideward.” Slip or slide sideward on the left, knee bent, right leg straight, body 
turned left, count ‘‘1-2—3,”’—pull feet together legs straight and body erect, count ‘‘4-5-6”’.. 1 meas. 


Slip‘right, pull deet ‘togethera oo 2525 fl sy us Preele lee Mone eee vae ie eka ceecte eee ee I meas. 
Sway backward on heels, count “ 1-2-3,”—forward on toes, count “4-5—6,”—3 left and 3 right, 

falling forward (i. 5s asia lot = cha smy shabelel ea eleeeew en Ge aM ole Ik te ane 2 meas. 
Repeatiall 05g a we appa alates Rete ee poe ge ne 4 meas. 


Note.—III and IV are eight measures each, other steps 16 measures. Plain 3’s are used throughout. 
A sailor is dancing On Deck. The roll and pitch of the ship tax his balance and control but he is equal to the situation and 
finds enjoyment in it, His balance, suddenly lost, is easily regained since he cleverly adapts his step to the moving deck. 


Slip forward left. Jump to heels, toes up. Rocking; toe tap left, note that right 
Step II. Step III. toe is lifting. 
Step V. 


ON DECK | 27 


V. 2 left, count “5-6”—tap left toe, count ‘“1~2,’’—heel down, count “3,”—tap right toe keeping 


VI. 


a3 7 


Ti as uee monet te TOOL COUM Ue aaera tt Masts. ss OMENS © cote ete has whe u's Ve lukw’s Monies I meas. 
IEDC ene ls inl oo eter MMS «cc LMAM, s ei, g cee ERs ks Eel oveuote «Slt 2 wee Fame ceeee as I meas. 
Make a rocking motion, sway backward as the heel goes down count “3,” forward as the 
tap comes on “4.” 
2 left, count “5-6,” left toe starts to tap but slips back and the weight falls on the right foot, 
knee bent, count “1-2-3,” spring from the right leg to the left, extend the right leg and swing it 
forward, count “4-5-6”; right leg slowly sinks, the weight remains on the left, count “1-2-3-4” 2 meas. 


INepcd ee CCINTUN Sy 2riC Cee ca ten eS MESES «5 > AB Pics) oie «ob er eet os we 4 meas. 
Tee at eee aeRO ML cr EN oak 2, n\n eel. lar 8 meas. 
2 left, count 5-6, step left in back of right and hop, count ‘“1-2-3,”— step backward right, 

SW OTRHEUO EY yoke WI LO RICR ps oti GUE SREREMSNE kl Sa ea 60 a i I meas. 
Pat EE alae ee TOMS 5 9S LIS Ass Sigel si es Hey APRA PR ad ad on ulh pod MeeM a en ies « I meas 
2 left, step left in back of right and hop, step forward right; fall on left, knee bent............. 2 meas. 
Repeat all twice, beginning right and left; finish facing left... ... fh EE ROR ES 2608 oy (oe 8 meas. 
Finish.—3 right, hop right and step left forward, hop left and step right forward, 3 left......... 2 meas. 

Slip with right foot forward, left back, pull together and slip with left forward, right 
DACKWerepedts(fOUDESU atic eae ieee. tenis ode eae Ss A) eee et 2 meas. 


The finish is obliquely forward left, advance is made and it may be used as an exit. © 
Arranged by Ruth Garland | 


IRISH WALTZ CLOG 


Arranged by Ruth Garland 


IRISH WALTZ CLOG 29 


_ 
as 4 


i at % : 
—— 2 2 
—— = 


ell 


Couple dance, partners side by side, the girl on the right. 


if, 


II. 


Inside hands are joined. 
Step left, swing right leg forward; 5 right. 


USS CTSN RA Beh cod 6 a+ iC SM, hb Woe HRI eIEe OS RS RSICING Too poner Sinica 2 aires Eos mea Reo a a pr 4 meas 
Waltz turn left with 5 left, 5 right. 

Step left, swing right leg forward; step right sideward and draw left (weight left)............ 4 meas. 
Reetea allem eter eet TO MANG < Kctty eet e cine pet le W gis nee tien cabo, HLGRY oe the « «eos aye 8 meas. 
Sicpilelemurucmancsewine ren tdlesisidewarday cardi an ho ieee yaa erie cd nicl eee aegcie Ss I meas. 
Step Dah eeack Oller tra Lert wing a MVC)A amie scqaits doujin tietihe «6 wens (stop dGfe Q's no o's I meas. 
ISCDCA Lge em PAM ene Lek nM ae Gta ote Mie as lah icra Mule wis eCP ara Shy Ad oat fe a RA og he. ole 2 meas 
IEC ACUTIN LeLON RtLek CEC KIGH Top Wee age Ae Oh Res te ete hoe ee guh cuenta ee nein <i 2 ew 2 meas 


Step left and swing right leg forward; step right sideward and draw left to right (weight left).. 2 meas. 
Repeat all. (Man completes the last draw and finishes with weight left; girl keeps weight 
PEON cate Dati oears i Sth) Bc ve ease Ret POPES TARE Sane Fe (cee ae nn eae 8 meas. 


IRISH WALTZ CLOG—Continued. 


30 
III. Face partner. Man,—Step right, swing the left leg forward; 5 left. 
Girl,—Step left, swing the right leg forward; 5 right. 
Repeats. o cso FES BRS ora es ID eae osha, = oe ame ete pe 2 ni a, ce ee 4 meas 
Lock right elbows, with partner. Turn partner with four 5’s, finish in an open position, 
facing partner. 
Repeat all, finish facing the front; side by sides... [5 fagere eee eh ee 4 meas. 
IV. Repeat II. Girl,—as before. Man,—step right, brush and swing left sideward........... I meas. 
step-left.in'back of right, 3) tight, a leftc(a five). 8.50 7: ae eee ie I meas. 
REPCA bb a sce ia os ER aes ooo se se SURO hee 2 ie Rm es 2 meas 
Waltz turn right (5:rights leit) (0.25.9 ee ae. eek ee cee 2 meas 
Step right and swing left leg forward; step left sideward and draw right to left............ 2 meas. 
Repeat. all; the ‘girl: steps right;the man deit 2:1 4hr, 2 meee eee re en er 8 meas. 
The girl and man cross each other twice in this step, the girl passing in front each time. 
V. Man,—Step right, brush left and swing left leg across right; step left, brush right foot diag- 
onally backward left (flex knee, look backward over left shoulder)...................... 2 meas. 
s tight; step.left and draw right-4weight right)-2 igen oes ee ee 2 meas. 
Repeat, beginning |leftacgeie. Wie ys. cee eae > bse cite ees ean ee ne 4 meas. 
Repeat all. oA ec gisan + ee pleas wenlage 018 Soinls \cntn/ataslceteee tale a) Stee Roe tie eee ere ee 8 meas 
Girl—opposite. 
The step brings the partners toward each other and then takes them apart. 
VI. Face partner. Man,—step right, swing left leg forward; step left and draw right (weight 
right); step left, swing right leg forward; step right and draw left (weight left)........... 4 meas. 
5 right -5—s—5. Step back on the first step of each —5, moving away from partner......... 4 meas. 


Girl—opposite. 


Repeat the first four measures. Finish turning partner as in II with 5 right —s-s—5........ 8 meas. 


Turning partner with four 5’s. Finish of the second brush. 
Step ITI. Step V. 


THE GEORGIAN MALE QUARTETTE 31 


Four in a flank line, hands on shoulders of the one in front. 


I. 3 left -3-7 advancing forward; hop left, step right back and draw left to the right weight left, 


Eee LOL Wald u 7) ert bmermrm yy EL we ee. i Nee CIS nie asters :.. . cubs Sombie Bene 4 meas. 
PO Cem DOC INI PALIT weer mene a ane wee Le drs satay 4 ASTON ogld coe) RMI « «1.0 adh EBLQ Beads SF oa « 4 meas. 
Face left, the four are side by side, arms crossed, hands on each others’ shoulders. 

(Eb PL EL A eat hoe edene = Bal td 2 cs aR eo SR ote Og Se es 8 meas. 


Break.—The one on the left, number one, hop right, step back left and draw right to the left; 
3 left (with the heel rattle), tap right toe twice keeping the right heel down. Repeat the heel- 
rattle three and two taps twice. 

Number two follows number one and takes the hop and step draw backward as 
number one makes the first heel-rattle 3. Number two does the heel-rattle 3 twice. 
Number three follows number two and takes the hop and step draw backward as 
number two makes his first heel-rattle 3. Number three does one heel-rattle 3 as 

number four hops right and takes a step draw backward............ceecueeeees 4 meas, 


II. Arms crossed, hands on shoulders. 
(a) Double rattle left, step left, slow hop left, step back right and draw left, step right. 


me iclt 4-7 a vanCnu MOE ward etme atk ares BY vA ean Gy aie eared 4 emer aia ties 4 meas. 

PLEDEA LTA enbepiniuine OU plemtartle, MOL pete ere. Sala steatosis Satin ols ote a wale ae ae .. 4 meas. 

Dime a miepcatitl (a) wenn eee er ore nats haces ks etn ta os 6p ooee cay ee ens eat naples abe a 2 meas. 
(b) Feet together and parallel. Pivot on heels and turn toes outward left, pivot on toes and 

turn heels outward left. Repeat three times, advancing to the left................. 2 meas. 

Repeated Paver imline rou cera cles Tig ita, ae oti Aue sy ities wae ease Aun A ae So elete «a we 4 meas. 


IV. “Railroad Shuffle.” 
3 left -3-3; knees bend, hold 2 counts, swing left toe out in preparation and four railroad 


SUL Com ULL DCEO L Ummrmn eerie iii ty Cohen ie Beat a aa ode AM tade es Sal se; one) 4a, aha BN ion acer sea 4 meas. 
3 right —3-3; knees bend, hold 2 counts, swing right toe out in preparation and four railroad 

shuffles to the left..... eRe ee OP NG Mla SAUL cee Tee as du Ciaepde COR, 4 meas. 
te mr TEROAC MSU Cori Oca wee pian sme Paes eis Os Asie cays atin oleate raleaa head Aug eratme aye 4 meas. 
ERNE ELEC INULLIOSRLCL Emer ietrcahs ge Wingo, Crs ae cathe swede el at So ois} wah Seal we 4 meas. 
BP eakee Satie | entree teeter aa ets tent tase nities aces Anea f S-doaa dy ites bom wale ay qae My Stent ba 4 meas. 


Hop right, step back left and draw. Pivot on heels, ‘‘ parallel feet’ to the left. 
Step I. Step III. 


32 


THE GEORGIAN MALE QUARTET TE—Continued. 


V. Arms crossed, hands on shoulders. 


Repeat IT. (2) 62 Vana c «0 e'Y Sales bnee hee 5 canal vets mga cae tee 2 meas. 
3 left -3-7. The quartette wheels a $ turn left during the 3-3-7, numbers one and two mov- 
ing backward, three and four forward...........-- 1 see eee eee eee e eens 2 meas. 
Repeat all, beginning double rattle right; the 3 turn left on the 3-3-7 brings the quartette 
facing front A@aity 1 tirer hows. ots cae en otek Cees ro ee le AT a) iB 4 meas. 
Repeat IL: (@) . Seok. son oe yeeige Gee een se op oleate aaah ore a a eee 2 meas. 
Railroad shuffle four times tothe right... 3a.) =e - oe ole isis el cree ee 2 meas. 
Repeat all, beginning double rattle right... 7)... hes eo es ty ee 4 meas. 
The last four measures are repeated and the railroad shuffle is continued to the left for the 
exit, the arms are still crossed... 13... 100 ieee tee ee Se ee 4 meas. 


Nore.—I and IV are danced to the first phrase; II and III to the second, each eight measures; V and VI like II and III. 
A triple rattle may be used instead of the double rattle in II, III, V and VI. 

Railroad Shuffle. See ‘On the Railroad” page 24. 

The first and second tenors, baritone and bass make up this jovial quartette. As a dance for a minstrel it has possi- 


bilities. In the break each may sing two notes, “oh-oh,” in his particular range, as he hops and steps backward. Much 
pantomime can be introduced throughout the steps and the whistle and chug of the engine given as the railroad shuffle takes 
the quartette to the exit. 


Atranged by Ruth Garland 


33 


THE GEORGIAN MALE QUARTET TE—Continued. 


Break 


Oh! 


Oh! 


Oli =. = 


Oh! 


* Play first ending the first time through. Play second ending the second time through. 


34 RASTUS 


1.3, left —3—7, 8-3-7 38-3773 break... i 5 fe kak na wil he See Cee Soe teers ee ee 8 meas. 


II. Inverted toe tap left, heels together; inverted toe tap right, heels together; flop left and right 
forward; jump feet crossed, right in back. 


7 turn right, heels ‘togethers 25... .6). 1: > fee muah, ba ge eee eee ee tee 2 meas. 
Repeat.all with thesame’s turn’right.. cAiae coer? - 1 -!-ee oy eek ee ee 2 meas. 
Repeat with a + turn ‘right... ee o.jees. 0s Sep Penne ee Gy oe ee a 2 meas. 
Repeat the inverted toe taps and two flops; finish with a ‘“‘spread,’’—a slide forward on the toes, 

with ithe feet apart; knees-bent, arms Hung mipwards Wey ee 2 meas. 


III. 7 left -7; last half of break (7 movements, 8 counts) twice. 
Repeat, beginning 7 ‘right. cieets. « 5 Aes cis pre crete ee eee 8 meas. 


Ve Hensocratch.”. 
Begin left, hen scratch 23 (hen scratch left, right and brush left foot sideward); last four move- 


ments of break’ slowly 2.\ afi cons foals on ceeds oe eae ee ee ee eee 2 meas. 
Repeat :3 times, beginning right, lett sright igre tee et aagrene ee ceere een n 6 meas. 

V. “Sifting the Sand.” 
3-3-7; 3-3-7; fall forward.on left}; pivotsturn letti— 3 ey ieee ee ee 6 meas. 


Weight is on the left for the turn, the left knee is bent; the right leg is straight and pushes the 
sand three times as the full turn left is made. 


Breaks... 6. S58 sented ee Oh Oe HOU et ots hie cA OGM, a ere a 2 meas 
Finish.—Flop left (2 counts); right, left (2 counts); ‘‘spread” on last note.................. 2 meas. 
Break—The break begins right; it has 15 movements (16 counts) in 2 measures. 
First: hali—Brush: forward right: o02). cascci eet ce ste ke roe oe aoe ene I 
Tap back. cock eek ho AG calc @ cislstere' dis eheta aodlaccea tim = le ae Neng on 2 
Hop ‘left; iy. octree .cch Lesa sasiomanet cs otc 3a ete eh oh Sil ate et ane 3 
Tap ‘the, ball.of right foot backrofileits caste aucuis due ee ee ee 4 
Tap(the ball in back with the weight) uiy..4-) . sec eee ee 5 
3 left g eee Pe ee date Picea Gal See ee Ne ease RR RS nee 2 6-7-8 


Rastus is a merry old negro who still loves to dance. He has all his old-time spirit and agility; his step is light and free, his 
body elastic. He likes to show the most difficult steps he knows which he does with apparent ease. 


Finish of the break. First movement of the “hen scratch.” 
Step IV. 


RASTUS 


ist) 
Or 


BiuslLonwartigiig iceman oo dee heel Oe i LN I) vel h, 
LED LOL Wan UTD Ue hee Lard (amie. ts... neem 0s st Gtele le. 6 ickber acid eS 
BUD: lett tomar Heel isecieeenns sc 0s tera ee sO Ac eitete sss Soktale ch couie ees 


ON AN hW NHN He 


In practicing the break, note that the hop comes on the third count in each part and that the first three 
movements in each half are the same. The second half of the break alternates if practiced as an exercise, 
the first half, if repeated, begins right each time. The break must be executed evenly; practice slowly giving 
each movement its time value. When the break becomes smooth it can be done rapidly. 


Hen Scratch.—Left. With a brush outward raise left foot, inverted toe, bent knee,—at the same time 
lift and swing right heel out and down, count “1”; swing heels together, count “2.” 


Hen Scratch.—Right= opposite movement on count “1”; swing heels together, count ‘‘2.” 


Arranged by Ruth Garland 


— = 
“ane fete 


stoke 


36 


SCHOOL DAY ANTICS 


Music: 4-4 Schottische time. 


Class to form in a large circle around room in column of twos, partners standing sideways and facing each 


other. 


Give each step 32 or 64 counts, traveling sideward 8 counts and returning on next 8 counts. 


FUNDAMENTAL STEP: 


Counts 1-2. 
6c 2: 
4. 


ce 


First STEP: 
Counts 1-4. 
Count 5. 

- 6. 
Counts 7-8. 


ff g-16. 


SECOND STEP: 


Counts 1- 4. 


Count 5. 
a3 6. 
Counts 7- 8. 
9-16. 
THIRD STEP: 


Counts I- 4. 


Count 5. 
(a9 6. 
Counts. 7-8. 
= 9-16. 


FourTH STEP: 


Counts I- 4. 


Counth is; 
x 6. 
Counts 7- 8. 
4 9-16. 
FIFTH STEP: 
Counts I- 4. 
Count 5. 
(79 6. 
Counts 7- 8. 
2 Q-16. 
SIxTH STEP: 
Counts I- 4. 
ce es 8, 
9-10. 


SEVENTH STEP: 


Counts 1- 4. 


Count 5. 
ce 6. 


Counts 7- 8. 
os 9-16. 


Two gallop steps sideward. 
Step sideward in same direction. 
Jump sideward in same direction landing with feet together. 


Fundamental Step. Arms one-half abducted, partner’s hands clasped. 
Outside man pull other man’s head forward making him bow. 

Inside man raise head. 

Counterlike of counts 5 and 6. 

Counterlike of Counts 1 to 8. 


Same as in Step 1. 

Both men jump to walk stand L. foot forw., push L. hand forw., pull right hand to shoulder. 
Counterlike. 

Same as Counts 5 and 6. 

Counterlike of Counts 1 to 8. 


“2h 
Same as in Step 1. es | & 


Both men squat on R. leg and: touch left heel forward, retain grasp of other man’s hands 
and balance each other. \ res 

Reverse position of feet. 

Same as Counts 5 and 6. 

Counterlike of Counts 1 to 8. 


4 
S 


Same as in Step No. 1. 

Both men jump to stride stand, and abduct arms. 
Both men jump, feet together, and abduct arms. 
Same as Counts 5 and 6. 

Counterlike of Counts 1 to 6. 


Fundamental Step. Both men grasp each other man’s shoulder. 

Outside man grasp inside man’s waist and assist him to jump straight up. 
Return to stand. 

Counterlike of Counts 5 and 6. 

Counterlike of Counts 1 to 8. 


Same as Counts 1 to 4 in Step No. 5. 
Cross wrists in front of thighs, arms stiff and resist each other. 
Counterlike of Counts 1 to 8. 


Fundamental Step. On fourth count turn back to back and lock elbows. 
Outside man bend forw., raising inside man’s feet from the floor. 

Outside man return to stand. 

Counterlike of Counts 5 and 6. 

Counterlike of Counts 1 to 8. 


SCHOOL DAY ANTICS—Continued. 37 


EIGHTH STEP: 
Counts 1- 4. Same as in Step No. 5. 
7m 5- 6. Both men fold arms on chest and stand on L. foot. Outside man make two hops forw. as 
in Rooster Fight, inside man checking him. 
a 7— 8. Counterlike of Counts 5 and 6. 
Hi 9-16. Counterlike of Counts 1 to 8. 


NINTH STEP ENDING: 
Count 1. Outside man right face and stoop stand. 
¥ 2. Inside man place hands on partner’s hips and jump with one-quarter turn directly behind 
him. 
3. Inside man straddle vault over back of partner—land in stoop stand position. 
4. Counterlike of Count 3. 
Continue around circle alternately vaulting each other. 


“ 


“ 


AutHor’s Note.—For festival purposes School Day Antics make an appropriate Jester Dance, The “Funeral March of a 
Marionette,”’ by Gounod can be used as music. 


Alternate leap frog of the last step. 


38 


DANCE OF THE HOTTENTOTS 


A. M. Cohen 


DANCE OF THE HOTTENTOTS 39 


Notre.—Repeat each step starting to R. Where no position of arms is given hold arms in the position last taken. 


First Step (Cross and Hop): 
Count I. Step L. across in front of R. and slap L. knee with L. hand. 
- a Hop on L. and flex R. leg. 
ne Step R. across in front of L. and slap R. knee with R. hand. 
4. Hop on R. and flex L. leg. 
Counts 5-8. Same as 1 to 4. 
> g-12. Spring from R. to L. to R. to L. to R. keeping the legs crossed, arms one-half abducted. 
Count 13. Squat on R. touch L. at L. side, hands on hips. 
Bae: Counterlike. 
Counts 15-16. Same as 13 and 14. 


“ 


“cc 


Seconp Step (Pigeon Toe): 
Count 1. Arms folded on chest, raise R. toe and L. heel and turn feet so that toes come together. 
: 2. Swing arms to side Hor., raise R. heel and L. toe and turn feet so that heels come together. 
Counts 3-8. Same as 1-2 traveling sidewise to L. 
Count 9. Step sideward L. with L. 
me meELO. One-half turn L. and swing R. to stride stand. 
Il. One-half turn L. and swing L. to stride stand (face front). 
5 EE Cut sidewise with R. kick L. sideward, bring hands to hips. 
03 Step L. across in back of R. 
ae aa Step R. to R. 
roa Step L. across in front of R. 
un 10; Feet together. 


Tuirp STEP (Wabble): 
Count 1 L. arm three-quarters abducted, hop on L. abduct R. 
2 Hop on L. and circumduct R. to R. 
an R. arm three-quarters abducted, L. hand on hip, back cut with R. raise L. forward. 
4. Hop on R., circumduct L. to L. 
Counts 5-8. Same as 1 to 4. 
- g-12. Arms one-half abducted, thighs abducted, spring from R. to L., to R. to L. to R. (rocking 
sidewise). 
«313-16. Step forward L. R. L. R. (the Cake-Walk). 


Fourtu Step (Cross-Leg Jump): 
Counts 1; Arms one-half abducted, step R. across in front of L. 
2 Jump sidewise to L., landing on L. first, keeping the legs crossed. 
Counts 3-8. Same as 2. 
Count 9. Hands on hips, hop on R. and abduct L. thigh. 
ay akee Hop on R. and circumduct L. leg to L. and kick sideward. 
aera yt Side cut with L. and abduct R. 
TO: Hop on L., circumduct R. leg to R. and kick sideward. 
ee Spring from both. 
4: Swing arms sideward L., kick both to R., strike heels together and land on L. 
Counts 15-16. Same as 13-14, but to opposite side. 


cc 


Firta Step (Wooden Leg): 
Count 1. R. hand on hip, L. holding up L. thigh, one half turn L. and flex L. thigh. 
Counts 2-7. Hop on R. 
Count 8. Hop on R., one-half turn R., thigh extended. 
Counts 9-12. Arms one-half abducted rock backward and forward springing from R. to L. toR. to L. toR. 
Count 13. Hands on hips, flex L. thigh. 
cae eA: Spring from R. flex R. thigh land on L. 
eS. Forward cut with R. land on R. extend L. thigh. 
eee TO: Spring from R., extend R. thigh, land on L. 


40 DANCE OF THE HOTTENTOTS—Continued. 


SrxtH Step (Cake Walk): 
Counts 1-8. Arms one-half abducted, forearms one-half flexed, walk forward, starting with the L. eight 
steps, flexing thigh and leg and striking toe on floor before planting the foot on each step. 
g-12. Same as 13-16 in the Fifth Step. 
13-16. Arms one-half abducted four steps backward, Raa the knees and crossing the legs. 


“c 


6c 


SEVENTH STEP (Cross Leg Jumps): 
Count 1. Jump to stride stand arms one-half abducted. 
a Ds Jump to cross leg stand hands back of neck. 
Counts 3-8. Same as 1-2 moving backward alternating L. in front and back. 
: 9-12. Four squat jumps moving forward, arms one-half flexed. 
13-16. A forward roll or cart-wheel. 


ce 


ErcuTH Step (Ending): 


Count 1. Jump and turn facing partner. 
* 2 Jump and turn back to partner. 
ss ox Lock arms with partner, man on L. bend forward, raising partner’s feet from floor. 


(a3 


4. Man on L. straighten. 

Counts 5-6. Counterlike of 3-4. 
th 7-10. Same as 3-6. 

Count It. Both squat, keeping the arms locked. 
ues? Both sit on floor with legs straight. 
ef See Both flex legs and thighs. 


met Ay Both raise to stand pushing backward against each other. 
foe Both turn facing each other, keeping only the heads together. 
“16. Push away from each other and face front. 


Leave floor with cake-walk. 


AutHor’s Notre.—In the fourth step the action is more free if counts 3-8 repeat 1 and 2. The last step is done more satis- 
factorily and smoothly if two counts are given each movement. The dance is long and vigorous; the numerals on the music show 
an arrangement omitting repetition to the right of steps I, III and VI. 


rina 


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